1. You may identify the stasis in the play but it isn’t necessarily at the beginning of the play. Where is it and who does it involve? NOTE: Do not assume that the stasis of the play is the same as the stasis of the video version that you are required to see. Only discuss the play in this and answers to the following questions.
The stasis of the play is composed of the entire first 6 sections entitled Identity, Mirrors, Hair, Race, Rhythm, and Seven Verses.14 voices com together from both the Black and Hasidic community for form connections between the two. There isn't much tension between the two groups in a direct and/or physical way.
2. Ball points out that the intrusion sometimes occurs late in the dramatic action. What is the intrusion that breaks the stasis in Fires in the MIrror and how is it broken?
The intrusion of this play occurs not at the first mention of the Crown Heights indecent, which happens in the last section of Seven Verses, but at the beginning of the section called Crown Heights, Brooklyn, August 1991. The stasis broken in this section because unlike the section before it the character in this one is pointing blame to one side of the community and uses some language that may be a bit incendiary.
3. Why do the events of the play take place at this particular time and place? In other words, what is the unique factor that is out of the ordinary that causes a turn of events to take place? Hint: the unique factor may have something to do with you? How does the title figure in your answer?
The unique factor this play is that it is the month of August in 1991 where a car hit 2 children on the sidewalk and tension between two community came to a head. The title figures in because the play is something like a mirror to that society and the fiery tensions that surrounded it.
4. State the dramatic questions that must be answered by the end of the play? (Ordinarily, the dramatic question shares a close connection with the intrusion.)
The dramatic question of the play is "How will things play out between the two communities in Crown Heights?". I say this because the spark of the death of Cato set off both communities and everyone wants to know how it all ends and how things will shake out.
5. Use the narrator of the work to answer the questions concerning character. Ball says, a character is revealed by what he/she does, ie. The dramatic actions that are taken. Examine what these particular characters wants. The wants of a character often encounter obstacles that get in the way of achieving those wants. Ball says there are 4 kinds of obstacles that frustrate the wants of a character. They are: a. Me against myself, b. Me against another individual, c. Me against society (that is law, social norms, etc.) and, d. Me against fate, the universe, natural forces, God or the gods. In answering these questions be sure to point to the particular obstacles that demonstrate these obstacles facing the narrator.
I sent you an email about this question. I am unsure about who the narrator of the work is in the play.
6. The most important information in most plays takes place during theatrical moments. Identify the most theatrical moments in Fires in the Mirror.
The most theatrical moment of the play is when Cato's father took the stage and he breaks down crying. This scene really touched me because after all of the build up, getting that intimate perspective really hits home.
The stasis of the play is composed of the entire first 6 sections entitled Identity, Mirrors, Hair, Race, Rhythm, and Seven Verses.14 voices com together from both the Black and Hasidic community for form connections between the two. There isn't much tension between the two groups in a direct and/or physical way.
2. Ball points out that the intrusion sometimes occurs late in the dramatic action. What is the intrusion that breaks the stasis in Fires in the MIrror and how is it broken?
The intrusion of this play occurs not at the first mention of the Crown Heights indecent, which happens in the last section of Seven Verses, but at the beginning of the section called Crown Heights, Brooklyn, August 1991. The stasis broken in this section because unlike the section before it the character in this one is pointing blame to one side of the community and uses some language that may be a bit incendiary.
3. Why do the events of the play take place at this particular time and place? In other words, what is the unique factor that is out of the ordinary that causes a turn of events to take place? Hint: the unique factor may have something to do with you? How does the title figure in your answer?
The unique factor this play is that it is the month of August in 1991 where a car hit 2 children on the sidewalk and tension between two community came to a head. The title figures in because the play is something like a mirror to that society and the fiery tensions that surrounded it.
4. State the dramatic questions that must be answered by the end of the play? (Ordinarily, the dramatic question shares a close connection with the intrusion.)
The dramatic question of the play is "How will things play out between the two communities in Crown Heights?". I say this because the spark of the death of Cato set off both communities and everyone wants to know how it all ends and how things will shake out.
5. Use the narrator of the work to answer the questions concerning character. Ball says, a character is revealed by what he/she does, ie. The dramatic actions that are taken. Examine what these particular characters wants. The wants of a character often encounter obstacles that get in the way of achieving those wants. Ball says there are 4 kinds of obstacles that frustrate the wants of a character. They are: a. Me against myself, b. Me against another individual, c. Me against society (that is law, social norms, etc.) and, d. Me against fate, the universe, natural forces, God or the gods. In answering these questions be sure to point to the particular obstacles that demonstrate these obstacles facing the narrator.
I sent you an email about this question. I am unsure about who the narrator of the work is in the play.
6. The most important information in most plays takes place during theatrical moments. Identify the most theatrical moments in Fires in the Mirror.
The most theatrical moment of the play is when Cato's father took the stage and he breaks down crying. This scene really touched me because after all of the build up, getting that intimate perspective really hits home.